150 Musical Acoustics 155/255 Intermedia Workshop 192BAdvanced Sound-Recording Technology 220BCompositional Algorithms, Psychoacoustics, and Computational Music 256B Mobile Music 253 Musical Information and Symbolic Data Interchange 319Research Seminar on Computational Models of Sound Perception 323 Doctoral Seminar in Composition 351Seminar In Music Perception 421AAudio Applications of the Fast Fourier Transform (FFT) 422Perceptual Audio Coding 451 Research Seminar in Neuroscience of Auditory Perception and Music Cognition
In case you were wondering, all these *LOrk digressions did not come out of nowhere. Many of them are reflections directly connected to my own great experience with SLOrk in the Spring of 2010, when my piece Intellectual Improperty 0.6 was composed and performed.
The recoup of sound proximity by the performer doesn't come without new problems. A more sophisticated vocabulary of “instrumental” gestures would certainly help to infuse the regained sound localization with new meaning; but a rich gestural vocabulary (if possible at all) has not yet developed, having been limited up to now to relatively simple connections between gesture and sound.
When ten or twenty musicians sit on the floor on colorful cushions with their laptops sitting on nice little breakfast tables in front of them, a theatrical situation is created: the audience is led to accept those everyday objects as musical instruments in some way (more, perhaps, than when a solo laptop performer sits on stage). It is a kind of implicit pact that the public seems generally willing to accept.
By using external controllers of various sorts (usually of a more “gestural” nature, beyond the keyboard-and-trackpad paradigm), a laptop performer engages on gestural activity that reconnects her, at least on one level, with the dimension of movement as discussed in my previous tentative definition of musical instrument.